Music to Your Ears
Gone Phishin'--Need a miracle? This Monday (July 10), the Starport Theater at Cottonwood Mall will screen Phish: Live In Brooklyn. The film consists of concert footage shot just in front of 16,000 Phish fans at Keyspan Park baseball field, Coney Island. The beauty part is the film hasn't been seen anywhere since the night of the show, more than two years ago. If you weren't there, you might just feel like it now. And if you were there, whoa! Acid flashback! Show starts at 7 p.m. Advance tickets are already available online at www.fandango.com, or call the theater at 897-6858.
The Jason and the Argonauts farewell show
with SuperGiant, Lousy Robot, Fast Heart Mart and The Trampolines (from Denver)
Friday, July 7, Launchpad (21-and-over); $5: You win some, you lose some, Albuquerque. One of our best and brightest is on his way back East. Jason Daniello will soon be moving to Asheville, N.C., but not before he and some good friends put on one more monster musical event this Friday at the Launchpad.
Flyer on the Wall
(Psst! Hey, Albuquerque ... Santa Fe is kicking your ass on the poster art lately.) The Cherry Tempo, Shinobu, A Moment’s Loss and Keyboard. Monday, July 10, at Warehouse 21. $5. www.warehouse21.org. (LM)
Moreland, Arbuckle & Floyd
with I is for Ida, Primates and Lagoon
Friday, July 7, Atomic Cantina (21-and-over); Free: As Terry Zwigoff’s film Ghost World aptly demonstrates, there are plenty of faux blues bands out there--bands that claim to play “Delta Blues” or “Mississippi Roots Blues”--that are just plain awful. They may appeal to audiences of the suburban persuasion nationwide, but they’re hardly authentic in any real sense of the word.
Built to Spill
Eat it, Bono
Built to Spill is one of the few major-label bands that still sounds as pure as the day they were formed in 1992. Through it all, frontman and founder Doug Martsch has held on to his humility, maintaining that “all we’ve ever wanted to do was make music that sounds all right.” Martsch talked with the Alibi about his band’s success, touring and lack of bravado.
Who says girls can’t rock?
When she arrived in Albuquerque during one of last week's crazy thunder and lightning shows, Nels and her bandmates had no idea what they were getting into. "This bus has big windows, so I just sat and watched. I filmed the whole thing. It was really kind of crazy." Then it just started pouring.
Albuquerque all-stars The Coma Recovery have our hometown hardcore market cornered. Unflinching adulation by their primarily teenage fan base and adequately warm national reviews have helped secure their place as the next, next big thing to come out of Albuquerque. The Coma Recovery’s first full-length album, Drown That Holy End In Wine, produced by Chris Common of These Arms Are Snakes, is an unflinching, cohesive and surprisingly unpretentious progressive/experimental post-hardcore debut, taking influence from Burque old-schoolers Last Day Parade and even tipping their mesh trucker hats to fretboard musclemen Randy Rhodes and Tony Iommi. Cheer up, emo kid. Your scene just got a lot less lame.